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When you read the phrase “Augmented Reality,” your mind might turn to something like Pokémon GO or the popular running app, Zombies, Run! In both cases, the user experiences a game that, while based in a real-world environment, includes computer-generated perceptual information—most typically visuals and sounds, but including haptic modalities, too. A Pokémon, GO player might make their way down a very real hiking trail or across a downtown street while their phones display that very same location—the only difference being a virtual Growlithe waiting to be captured atop a tree stump or storm drain. Augmented Reality is a term that’s been in the mainstream public consciousness for decades now; for example, AR in the form of what’s known as Heads Up Display (HUD), which allows airplane pilots to read information on a clear glass screen atop the windshield itself (rather than a separate display), has been standard in aviation for decades now. But only very recently, alongside the rise of smartphones and Artificial Intelligence, has the true potentiality of AR become a mainstream, everyday reality—allowing it to flourish most popularly in entertainment, fitness, and marketing and commerce. Pokémon GO and Zombies, Run! have been around since 2016 and 2012 respectively, and in that time a whole world of Augmented Reality experiences have popped up. Alongside the video games and fitness experiences, there’s the Warby Parker app that allows users to virtually try on glasses, an IKEA app that places virtual furniture into users’ homes, and Snapchat filters that turned a Footlocker advertisement into a 3D Read More

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In: Lyneise Williams
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In the midst of COVID-19 induced social isolation, with many institutions like museums closing their doors, digital surrogates are forced to temporarily take the place of embodied experience. While most of our distancing is temporary — for some objects, their surrogates are all we have. The weight that replicas have to bear is dependent on their function. If the original object is destroyed, through intentional or accidental means, the record of that original no longer serves as a finding aid — something that points the way to an attainable original. If our reproductions will serve in place of original objects, predicting what will be meaningful about the original is necessary, demanding, and maybe impossible. Such mindful practices are also undeniably worth it. Dr. Lyneise Williams has articulated the stakes of this issue well in, “What Computational Archival Science Can Learn from Art History and Material Culture Studies.” Why not just keep the original? Why put so much pressure on replicas? There are cases that require replicas to rise up to the task of “replacement.” Space is often an issue. Thousands of newspapers have been microfilmed, which is a much smaller and more stable form. The stability is also a key reason why originals are often not saved. Newspaper is produced cheaply, and the paper itself degrades over time. These concerns are not trivial, particularly since the housing of archival documents requires a stable environment (reminder: you shouldn’t store things you want to save in non-climate-controlled areas like basements or sheds). Sometimes it is impractical or even Read More

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In: Safiya Noble
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Happy Black History Month! (originally published February 2020) by S.E. Hackney On Thursday, January 23rd, Dr. Safiya Noble spoke to an overflowing room of students, faculty, and community members about her best-selling book Algorithms of Oppression. The thesis of the book, and of Dr. Noble’s talk, is that not only racism is actually built in to the search algorithms which we use to navigate the internet, but that the big players of the internet (Google specifically) actually profit off of that racism by tokenizing the identities of people of color. It does this by associating identity phrases such as “black girls” or “phillipina” with the sites with the most streamlined (aka profitable) SEO, which is often pornography. This is a system of classification explicitly based on the centering of the white experience and and othering of Black people and other people of color. However, as Dr. Noble spoke about in her talk, tweaking a search result or two to avoid offense doesn’t actually solve a systemic problem — one where white voices are treated as the norm, and others eventually become reduced to SEO tags to be bought and sold. This idea played out recently in Barnes & Noble’s miss guided Black History Month project, where public domain books where the race of the protagonist is not specified (determined by algorithm) have new cover art created for them, depicting the characters as People of Color. Rod Faulkner, who first brought this issue to widespread attention describes it as “literary blackface,” and points out, “Slapping illustrations of Black versions Read More